Chorus Holy, holy, holy Lord God of Hosts. Heaven and earth are full of your glory. Hosanna in the highest.
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis. Benedictus qui venit in nomine Domini. Osanna in excelsis.
Soloists and Chorus Blessed is he who comes in the name of the Lord. Hosanna in the highest.
Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi:
Dona nobis pacem.
Chorus Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world, have mercy on us. Lamb of God, who takest away the sins of the world:
Soloists and Chorus Grant us peace.
LUDWIG VAN BEETHOVEN (1770-1827) SYMPHONY NO. 1 IN C MAJOR, OP. 21 (1800) Scored for: pairs of woodwinds, horns, trumpets, timpani and strings Performance time: 33 minutes First Grant Park Orchestra performance: August 19, 1937, Rico Marcelli, conductor Composer Ludwig van Beethoven had a pivotal place in musical history. He is often viewed as the ‘bridge’ between the classical and Romantic periods. Both qualities exhibited in each period can be observed in his music. At 29, he composed the Symphony No. 1 and dedicated it to his patron Baron Gottfried van Swieten. Swieten was a well-known Austrian diplomat, librarian, and government official. Because of his general love of music and his pursuits as an amateur musician, Swieten was also patron to Beethoven’s predecessors Haydn and Mozart. According to Nation Public Radio’s Christopher Gibbs, Beethoven’s First Symphony dates from his “Classical” era (in the style of Haydn and Mozart). It was finished just a year or two before the composer first complained of hearing loss in the famous “Heiligenstadt Testament,” a letter that he wrote to his brothers Carl and Johann in 1802. Scored for a rich complement of strings, woodwinds, percussion and brass, Beethoven’s Symphony No. 1 premiered April 2, 1800, in Vienna. It is constructed in the traditional four-movement format: Adagio, Andante cantabile, Menuetto and Finale. The last movement opens with an Adagio, echoing the symphony’s slow introduction. Ironically, the beginning 12-bar opening of the symphony is often referred to as ‘a musical joke’ because of the dominant chord sequences that give the feeling of tonal instability. As the work concludes, Beethoven returns to the traditional sonata form, giving a feeling of harmonic stability, in many ways making a gentle nod to his symphonic predecessors. 6
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©2021 Patrick D. McCoy
